Introduction
Independent filmmaking has always been about embracing limitations and transforming them into opportunities. Whether it’s stretching a budget, building creatures from scratch, or experimenting with new ways to tell stories, innovation often begins where convention ends. Few filmmaking teams embody that philosophy quite like Kyle Valle and Erin Áine with their 16-episode vertical horror series Autonomous.
When CinemaScholars’ own Glen Dower last caught up with the creative duo behind ZombieCon Volume 1 for an extended conversation, they were celebrating the release of an ambitious indie zombie comedy that blended cosplay culture with heartfelt character drama. Twelve months later, they’ve returned with something altogether different.
Autonomous, released through horror streaming platform Screamify, isn’t simply another independent horror film. It’s a bold experiment in vertical storytelling, combining contemporary fears surrounding artificial intelligence with a cinematic approach designed specifically for mobile viewing. More importantly, it’s another example of filmmakers refusing to stand still.
Building Horror for a New Generation
The opportunity arrived almost overnight. After Screamify licensed ZombieCon Volume 1, founder Sean Overbeek introduced Kyle and Erin to a script he’d written for the platform’s new line of “micro horrors,” episodic vertical productions created specifically for smartphones. Within days, everything had changed. “We had the script later that day,” Kyle recalls. “And I think within a day or two we were already in pre-production.”
For many filmmakers, the vertical format might seem restrictive. For Kyle and Erin, it represented something far more exciting. “It felt nice to kind of be on the cutting edge of technology,” Kyle explains. “Not just from the story perspective, dealing with AI and autonomous vehicles, but also from the media side, trying to make something that felt like cinematic vertical storytelling rather than just quick social media content.”
That distinction became central to the entire production. Rather than treating Autonomous as content designed to be consumed in passing, the pair approached it with the visual language of traditional cinema.
More Than a Short Film
Clocking in at around forty minutes when viewed continuously, Autonomous occupies an unusual space between film and television. “It’s hard,” Erin admits. “We’ve heard it called both a short and a series, and honestly, I think both are accurate.” Kyle agrees. “From a filming perspective, it definitely felt more like making a movie.”
The screenplay arrived as one continuous script, already divided into episodes with carefully placed cliffhangers that encouraged audiences to keep scrolling. “It was really well written in regards to keeping the tension going,” Kyle says. “For my coverage, it was just making sure we captured those moments that would leave people wanting more.”
Watching the finished production, that structure becomes one of its greatest strengths. Each episode feels like another page turn. Another unanswered question. Another invitation to keep watching.
Claustrophobia on Four Wheels
Although Autonomous explores ideas surrounding artificial intelligence and self-driving vehicles, much of the film takes place inside a single car. For Kyle, serving as cinematographer, that presented challenges that were as physical as they were creative. “My back is still dealing with the experience!” he laughs. Shooting inside a Jaguar while operating a fully rigged Alexa camera forced the crew into what Kyle jokingly described as becoming “Cirque du Soleil performers.”
The confined space, however, became an unexpected advantage. Rather than simply recording dialogue, Kyle used camera placement to reinforce the shifting emotional power between the characters. “The cuts were organized around the power dynamic of the relationship,” he explains. “Who was winning the argument? Whose side was the audience on in that moment?” It’s a subtle storytelling choice, but one that gives Autonomous an intimacy rarely found in independent horror.
Creating a Monster from the Ground Up
One of the most unsettling elements of Autonomous is simply known as “The Figure.” A towering, faceless presence lurking beyond the headlights, the creature gradually reveals itself through glimpses, a hand tapping against glass, distorted movements in the darkness, and an unsettling intelligence that suggests it’s hunting rather than wandering. Designing that creature became one of Kyle’s favorite parts of production.
“It started with finding the hands,” he says. The original plan involved elaborate prosthetic makeup, but rising costs and lengthy application times quickly forced a rethink. Instead, Kyle discovered a company developing an entirely new line of silicone monster gloves that hadn’t yet reached the market. “They said, ‘These aren’t for sale yet…you’d be the first person in the world to have them.'”
The mask followed a similarly inventive journey. A simple Amazon purchase became something far more disturbing thanks to a local artist who layered veins, translucent skin textures and subtle detailing to create an entirely original creature. Even the costume endured its own transformation. “We took it into the basement and just distressed the heck out of it,” Kyle laughs. “Rusted metal, scratches, dirt… everyone on the crew became like kids in a candy shop.”
The result is a monster that feels tactile, grounded and unnervingly real. In an age increasingly dominated by digital creatures, Autonomous reminds audiences why practical horror continues to resonate. Kyle credits the performance of actor Thomas—standing well over six feet tall—as much as the costume itself. “The timing of that finger tapping against the glass… that was all him.”
Combined with carefully restrained visual effects, the creature never feels overexposed. Instead, mystery becomes its greatest weapon. It’s a lesson horror filmmakers have understood for decades. Sometimes what you don’t see is infinitely more frightening.
Vertical Doesn’t Mean Smaller
Some filmmakers remain unconvinced that vertically framed productions can deliver the same emotional impact as traditional widescreen storytelling. Kyle sees things differently. Comparing today’s vertical filmmaking movement to YouTube’s early days, he argues that cinema has always evolved alongside technology. “This is kind of the new frontier. The history of movies has always been about exploring new technologies and merging them with art.” Rather than replacing traditional films, he believes vertical storytelling simply creates another way for audiences to experience them.
“I don’t think it’s ever going to replace movies,” Erin adds. “It’s just another beautiful next step.” One of the most compelling arguments in favor of vertical storytelling isn’t technological. It’s practical. Today’s audiences consume entertainment differently. Instead of waiting for two uninterrupted hours, many viewers discover stories during commutes, lunch breaks or moments between everyday responsibilities.
Autonomous embraces those viewing habits without sacrificing narrative ambition. Its bite-sized episodes maintain cinematic quality while encouraging binge viewing one chapter at a time. It’s storytelling designed around contemporary audiences rather than expecting audiences to adapt.
One Year On: ZombieCon Continues to Grow
While Autonomous may represent the future, ZombieCon Volume 1 continues to find new audiences around the world. “It’s taken on a life of its own,” Erin says. The independent horror community has embraced the film, while international distribution continues to expand into new territories, including the United Kingdom and Japan, with Kyle is particularly excited by the latter’s release. “Anime played such a central role in ZombieCon. Seeing it come full circle and make its way to Japan is incredibly exciting.”
The filmmakers will also appear at Atlanta’s Dragon Con, discussing the making of the film with fans eager to learn how such an ambitious production came together. Meanwhile, conversations continue about expanding the ZombieCon universe into comics, animation and, eventually, the long-awaited sequel. “It’s basically a full-on zombie war film,” Kyle teases. “The hope is that we can make it the way it deserves to be made.”
Perhaps what stands out most about Kyle Valle and Erin Aine isn’t simply their filmmaking ability. It’s their willingness to embrace uncertainty. One year they’re orchestrating zombie outbreaks inside convention centres. The next they’re helping pioneer a new format for horror storytelling. Neither project exists because they followed industry trends.
Both exist because they were willing to experiment. Independent cinema has always belonged to filmmakers prepared to take risks. Whether Autonomous represents the future of mobile storytelling or simply the beginning of another exciting chapter remains to be seen. But if Kyle and Erin have demonstrated anything over the past year, it’s that they’re unlikely to stop pushing boundaries anytime soon. And that’s exactly the kind of creative fearlessness independent horror needs.
Where to Watch
Autonomous is now streaming exclusively on Screamify, while ZombieCon Volume 1 continues to expand its international reach following successful releases across multiple territories. If Autonomous is any indication of where Kyle Valle and Erin Aine are heading next, horror fans would be wise to keep both eyes, and perhaps one nervous glance over their shoulder, firmly fixed on what comes next.
